The One

Sound & Storytelling workshop with Simon McBurney and Gareth Fry

Let The Right One In

Apollo Theatre. Director: John Tiffany. National Theatre of Scotland. Production also played the Dundee Rep and Royal Court Theatre in 2013 and St Ann's Warehouse, New York in 2015

"its world pulses with otherworldly undercurrents, beautifully sustained by Gareth Fry’s sound design" Ben Brantley, New York Times

"Gareth Fry did the sensational sound design." Ben Brantley, New York Times

"Gareth Fry's soundscape sends a menacing pulse through the action that resolves into the thump of a frightened heart." Susannah Clapp, Observer

"Accompanied by Gareth Fry’s evocative sound design, the production constantly teeters on an anticipatory edge, toying with the film’s horror origins but converting it to a more fitting level of suspense for the stage" Ian Foster, The Public Review

"t's as unexpected, and as unusual, as anything on Shaftesbury Avenue in recent years, with ... a soundscape by Gareth Fry that sets new standards in atmospheric scariness." Michael Coveney, WhatsOnStage

"There’s an air of wistfulness, longing and loneliness to John Tiffany’s appealing, occasionally ethereal production, which is underscored by a thrillingly haunting soundscape from Gareth Fry." Fiona Montford, Evening Standard

Digital Revolution

The Forbidden Zone

Trauma

Short film. Director: Mark Kinsella. Produced by Nick Laurence and Ann Phillips. A Film London: London Calling short.This film was particularly challenging as it contained no dialogue or music. More on IMDB

"The impressively unsettling snatches of Gareth Fry’s sound design, which raises background noise to a disquieting pitch, eloquently suggest the tension that runs like a fault-line through this crumbling house." Fiona Montford, Evening Standard

"A low, persistent rumble carries under the spare and careful action of Katie Mitchell’s brilliant revival. Sound designer Gareth Fry sends a brutal, distorted steam train out across the shuttered scene changes, but it is his subtler work in creating an aural mirror for the deep shadows of Vicki Mortimer’s set that contributes so much to the bleakness of this Cherry Orchard. Mitchell brings her strange skills in creating a haunted successor to naturalism to bear in the muted conversations and the refusal of false intimacies or completions, but everywhere the world she creates is grounded in Fry’s gloomy echoing, as if Russia is still disturbed by the aftershocks of a collapse." Stewart Pringle, Exeunt Magazine